Cosmos-Cosmos

Cosmos-Cosmos

Musical reading of "Cosmos" by Witold Gombrowicz

Vence, Notre Dame de la Nativité
15/12/2017, 21.00

Tomasz Nosiński - voice
Ingar Zach, Le Quan Ninh - percussions
Jacqueline Sobiszewski - lights
Michal Libera - libretto, dramaturgy

The performance is neither a theatre piece nor a performative reading. It is musicality of „Cosmos” staged for one actor, two percussionists and light design. Gombrowicz meticulously worked out the relation between the book's topic and rhythmical / melodic aspects of the text and thus hearing „Cosmos” can be of relevance here. The main concept is nothing more nor less than putting to front the sonic features of the written text in its relation to its philosophical content.

”Cosmos” can be seen as a treatise about separation of (always too many) things and their arbitrary pointing to each other or, in other words, a masterpiece on how things become signs. Separation of things, musically speaking, is called „staccato”. Pointing towards each other – „legato”. Thus the main idea of the performance is to express and complicate relations between the two musico-philosophical elements of cosmos – being separated and at the same time pointing.

The structure of the performance mirrors the above mentioned diagnosis. It presents a few initially separated “objects” taken from the book. These are:  Sparrow, Stick, Cat, Ludwik and Priest in their staccato positions in “cosmic reality”. In between these things, there is an intermediary, legato, a connection maker which is yet another “object” of the book – an Arrow (“today, ex post, I know it was the arrow that was the most important” Gombrowicz writes and it is because Arrow stands for pointing, for bringing elements together). Over the course of the performance, this clear division of parts becomes more and more blurred.

The libretto has been prepared by the use of method Gombrowicz introduced himself in „Cosmos”, namely – departing from various unrelated elements and bringing them together in a seemingly arbitrary way. Surely, the more arbitrary the selection of elements, the more convincing is the display of the perverse nature of cosmos. There is no other way. As Leonard Neuger put it: “The paradox of »Cosmos«: any consistency I find in the novel will make me one of its characters”. The libretto thus is a perverse, cosmic (in Gombrowicz's sense) perspective on Gombrowicz's “Cosmos”. Hence title: “Cosmos-Cosmos”. 

PRES@60 at Huddersfield Contemporary Music Festival

PRES@60
at
Huddersfield Contemporary Music Festival

4 concerts, exhibition and two talks about Polish Radio Experimental Studio   

curated by Michal Libera, Michal Mendyk and Daniel Muzyczuk

17/11: Exhibition Opening
18/11: Jacek Sienkiewicz plays Bohdan Mazurek
20/11: Małe Instrumenty plays Kartacz
21/11: Daniel Muzyczuk - curatorial guided tour
           Michal Libera, Michal Mendyk - talk
23/11: Thomas Lehn plays Boguslaw Schaeffer Symphony
24/11: Valerio Tricoli plays Bohdan Mazurek

more: programme

M.U.Z.Y.K.A.

Możesz usłyszeć zygzaki, krajobrazy i archidźwięki

tekst: Michał Libera, Michał Mendyk

ilustracje: Aleksandra i Daniel Mizielińscy 

Wydawnictwo Dwie Siostry 
Seria: S.E.R.I.A

Premiera: listopad 2017

Kompozytor z innej planety i silniki grające na instrumentach. Muzyka z wnętrza butelki i z serca tropikalnej dżungli. Koncert na zabawkowe bączki i symfonia na syreny fabryczne. Spacery dźwiękowe, mosty słuchowe i tapeta do słuchania…

Czym jest muzyka? Gdzie jej szukać? Jak ją tworzyć? Muzycy i kompozytorzy zadają sobie te pytania od wieków. Ale w ciągu ostatnich 100 lat wielu z nich znalazło odpowiedzi, o jakich wcześniej nikomu się nie śniło. W muzyce współczesnej wszystko może się zdarzyć! I właśnie o tym opowiada ta książka.

W 44 zwięzłych i przystępnych rozdziałach autorzy przedstawiają wybranych kompozytorów, muzyków i ich dzieła, ukazując na ich przykładach różnorodne sposoby myślenia o dźwięku, muzyce, komponowaniu oraz byciu muzykiem. Wśród bohaterów znajdziecie m.in. Johna Cage’a, Steve’a Reicha, Arnolda Schönberga, Karlheinza Stockhausena, Pawła Szymańskiego i Iannisa Xenakisa, a także The Beatles, Briana Eno, Einstürzende Neubauten, Kraftwerk czy Madonnę.

Minor Music at Donaueschinger Musiktage

MINOR MUSIC
@ 
Donaueschinger Musiktage 2017

21/10, 
Donaueschingen, Germany
Kasino, Villingerstrasse 50

MINOR MUSIC

Curated by Michal Libera

Eugene Chadbourne / Johann Sebastian Bach: "German Country and Western"

Eugene Chadbourne – banjo

Barbara Kinga Majewska / Richard Wagner: "Isolde, Brangäne and Marke"

Barbara Kinga Majewska – voice, staging

Alex Waterman / Karlheinz Stockhausen: "LIGHT MUSIC"

Alex Waterman – voice, electronics

[I]t seems necessary to let the question of the right to music resound according to a somewhat different formulation: What place does a musical work assign to its listener? How does it require us to listen to it? What means does it put into play to compose a listening? But also: What scope, what space for play does a work reserve, in itself, for those who play it or hear it, for those who interpret it, with or without instruments? […] Who has a right to music? This question can also be reformulated thus: What can I make of music? What can I do with it? But also: What can I do to it, what can I do to music? What do I have the right to make of, do with or to music?

- Peter Szendy

[M]inor no longer designates specific literatures but the revolutionary conditions for every literature within the heart of what is called great (or established) literature. Even he who has the misfortune of being born in the country of a great literature must write in its language, just as a Czech Jew writes in German, or an Ouzbekian writes in Russian. Writing like a dog digging a hole, a rat digging its burrow. And to do that, finding its own point of underdevelopment, his own patois, his own third world, his own desert […] How many people today live in a language that is not their own? This is the problem of immigrants, and especially of their children, the problem of minorities, the problem of a minor literature but also a problem for all of us: how to tear a minor literature away from its own language, allowing it to challenge the language and making it follow a sober revolutionary path? How to become a nomad and an immigrant and a gypsy in relation to one's own language?

- Gilles Deleuze and Félix Guattari

Clearly – an impossible task: to perform the entire LICHT cycle in one go and to do it solo. Or "Tristan and Isolde", a capella. A mere provocation or a megalomaniac curatorial gesture – inevitably it is, admitted. But at least it does not even bare the slightest trace of temptation for a new rendition of a classical piece. "Minor Music" is not about that. It is rather about a solitary caught at night in a majestic room of an exquisite museum, alone, staring at a breathtaking painting. Being arrested. In love. Frustrated. Intimidated. Then hating it. Then again admiring. It may all be there. Being subjugated and then subjugate, facing virtuous blackmail but then also and by the same necessity – a cheap one, as all blackmails including the greatest ones, inevitably are. Rivarly, appreciation and affluence too, who knows – they may also float there in the air of that grandeur institution.

It indeed may feel like on the desert. A survival despatch, in solitude. Take only necessities, think twice and go. Be in danger, face insoluble situations and resolve them. Meet your enemies and try to speak their language. If you can, cheat the wind, become minor, rescale your limbs. Novelty does not necessarily work here, fashion does not even exist. There is no easy way out. But you may always try and climb a giant beast, lean on its back and check the smell of its fur.

Hypothetically, we all do that when listening to the music we find great. Hypothetically, it all haunts us in the quiet retreat of our own, inner listening, when we dare to ask shameless questions, shift the tone a little darker, swap lines to understand asymmetry, tear off tapestry to see its weight. Hypothetically, we inhabit these kinds of deserts and museums in our listening, we get less cowardly in this silence, we claim rights, we may go as far as owning a piece of land for a moment or two, just as long as it all remains tacit. As long as it remains soundless, private, domestic, it happens to be our everyday listening. In "Minor Music" it may perhaps become somewhat audible, in public, in the noble setting of Donaueschinger Musiktage.

Eugene Chadbourne is the only one of the invited artists of "Minor Music" who already conceived his first version of his project. An attempt on the music of Johann Sebastian Bach being armed with banjo only and on top of that calling it "German Country and Western" may seem funny, even ridicule or provocative. But it may only feel so if you have never heard it. If you have, then you know it is no joke, neither nostalgia and in the least a gag. If you have, these seeming jokes are no pranks anymore. Perhaps Chadbourne's performances of Bach may also be a clue that conceptual music takes each and every piece of cloth in order to self-smuggle. There is a vast space for statements in the most temperate forms of music making. Then no words can flip the lines of tradition, aesthetics and judgement better than the banjo fingering does. In Donaueschingen Eugene Chadbourne will continue his inquiry into German country and western music in the landscapes of "Goldberg Variations".

"Isolde, Brangäne and Marke" by Barbara Kinga Majewska is not going to last 4 hours and although based on Richard Wagner's opera, it will be as far from the harmonic orgy of the original as possible. A solo vocalist with no tape and no electronics. Majewska is rather on the path opened up already by Friedrich Nietzsche, an advocate of stepping away from the pompous Teutonic masculinity of Wagner and replacing it with a minor femininity. The scale, the harmony, the mass of sound, the volume are all reduced to several motives revealing the turnpikes of the myth and its sonic covering. Focusing on Tristan's gaze, Majewska finds it to be a crucial dramaturgical point of Wagner's rendition of the myth. Not unlike Homo Sacer, Tristan appears to be an outcast who suspends the law – law of state, law of social strata, law of customs – by a mere, if not minor, "passive activity" of his penetrating gaze.

As part of the "Minor Music" program, Alex Waterman will present a new 29-minute song cycle for voice and electronics with his own staging and light design: "Urantia!". "Urantia!"is a comic opera about the Kellogg brothers, Dr. Sadler and the mysterious "Sleeping Man", a post-war German composer, and "the importance of a good breakfast."

Grupa Budapeszt: Tadzio. The Shadow Equation

11/10/2017
Trafostacja Sztuki, Szczecin

Igor Krenz presents solo show by Grupa Budapeszt
Tadzio. The Shadow Equation

Following the exhibition Sanyofikacja. Cud reprezentacji at the Muzeum Sztuki in Łódź, Budapest Group continue exploring the 2½ dimension. They look into the structure, rules of action and aporias of the world, which has existed for centuries in parallel with the three-dimensional world we have known and which has been theorized and practiced by dozens of scientists and artists, from Tycho Brache to Ken Jacobs. The 2½D world is a two-dimensional world that constantly produces illusory 3D objects. And vice versa: it is a world of three dimensions which camouflages 3D objects by flattening them and merging them into the background. The exhibition in Łódź focused on a two-dimensional world leaning towards a 3-dimensional one. In Szczecin, the Group takes up the opposite direction, starting with the familiar 3D world and reducing it by half a dimension to show a number of camouflage strategies. The exhibition features several new works by Grupa Budapeszt, from sculptures and paintings, through films and objects, to light and sound installations. Edwin A. Abbott writes in one of the opening sentences of his book Flatland: A Romance of Many Dimensions: Imagine a vast sheet of paper on which straight Lines, Triangles, Squares, Pentagons, Hexagons, and other figures, instead of remaining fixed in their places, move freely about, on or in the surface, but without the power of rising above or sinking below it, very much like shadows – only hard and with luminous edges (…).

If, according to the above, flatland is a land of shadow that is not cast by a body, the land surrounding Tadzio at the exhibition in TRAFO is the world of bodies that deprive each other of shadows. It may be viewed as a territory of perfect camouflage, a place where all heterogeneous elements fit so perfectly that it is impossible to distinguish them from one another. Others may perceive this area as puzzles – an arrangement of components with one possible configuration in which none of them is redundant. Both interpretations are right since every object in the 2½D reality has a double identity – it is both itself and the camouflage it provides for other object that can conceal itself in such camouflage in a precisely defined relationship with the first object. In other words, each orange half has only one other half to match. It drifts towards the second half, to stopping in it, to stillness and fulfillment. Needless to say, the other half is not the other half of the same orange, but an empty space to which it “clings” and becomes invisible. The words quoted above could be paraphrased in the following manner: Imagine Lines, Triangles, Squares, Pentagons, Hexagons, and other figures unable to move about in space, since they immediately begin to create new shapes and connections with other figures, thereby losing their identity. Imagine a space in which they remain static and so perfectly adjacent that nothing else can fit into it, including a ubiquitous look.    

Grupa Budapeszt: Sanyofikacja. The Miracle of Representation

28/09/2017
Muzeum Sztuki, Łódź

Grupa Budapeszt presents solo show by Igor Krenz
Sanyofikacja. The Miracle of Representation

Sanyofikacja (Sanyofication) is a process which draws on the idea of television transmission. It is also an operation that enables transmission of images over long distances, as well as a machine capable of changing the dimensions in which an object is placed and subjected to the process. Between the existence and non-existence extends the whole range of intermediate states, among which the spectrality is only one of the most obvious ones. These intermediate states of existence and non-existence appear and disappear as the transition between dimensions proceeds from the second to the third.

Igor Krenz is an artist whose work often exemplifies his search for paradoxes of the so-called new media. This time, the exhibition at the Muzeum Sztuki in Łódź, presents two works in which a seemingly innocent and accidentally found  object of culture becomes a basis for the exploration of complex relationships between the abstract and the figurative, material and immaterial, poetry and prose, object and background, and, even,  between art and curatorial activity.

One day Krenz came across a collection of scientific books entitled "Mathematical Morphology in Remote Sensing", which were filled both with texts and illustrations. They were offered at a reduced price so he bought a whole pile of them from which he then "produced" ten videos, one sculpture, two installations, four paintings and a mural. As a result, all the illustrations became artworks and the book became a catalogue for an exhibition. We are dealing here with translation, multiplication, but also with a multi-level game with what contemporary art is about. The artist interweaves the mathematical concepts of with post-conceptual ideas, as a result of which creates witty comments about the world of Art.

Apart from "Mathematical Morphology in Remote Sensing" Igor Krenz got into possession of the scheme of integrated television circuits produced by no longer existing brand of Sanyo company. The scheme proved to be full of existential problems, references to the dark side of reality. It revealed subjects such as depression on one hand and euphoric states on the other. This inverted "ready-made" process is the one in which the found curatorial text generated work. The artist assumed that television is a process. The TV makes us see something that ‘is not’. Krenz used the metaphor of the “perhaps existing” 2½D world. It is s a concept of something that is not fully three dimensional but surely not just flat either. It is a problem considered only on a theoretical level, all attempts to resolve it in reality would border on madness.

Many theosophists and artists of the first avant-garde or founders of abstract painting, have often been interested in the concept of “the fourth dimension”.  It is a view of some kind of world that would be related to ours just like our world would relate to two dimensional one. “The fourth dimension” was a theory that allowed to combine what is spiritual with what is scientific. Similarly, Igor Krenz imagines the creation of the final two-dimensional object on the Sanyo TV screen as a process that takes place in “the two and a half-dimensional” world. In the world where objects are shaded, though light is falling on them, their spatiality is, to a degree, doubtful.

Igor Krenz. Sanyofikacja. The Miracle of Representation exhibition is related to a wider project exploring the world, whose existence is determined by two and a half dimensions. The 2½D world is a two dimensional world that constantly produces illusory 3D objects. And vice versa –  it is a world of three dimensions which, by flattening and merging into the background, camouflages 3D objects. While at the sister show of the Grupa Budapeszt [Budapest Group] in Trafostacja gallery in Szczecin, the starting point was the well-known three-dimensional world which reduced itself by a half, showing a number of strategies for its camouflage, at the exhibition in Łódź the starting point was a two dimensional world that swung towards the 3D world.

The two-dimensional technical patterns themselves become scores that orchestrate the world they are part of. Hence, it is only a step away from asking about the generative aspect of modern technologies, about their status of specific notations, the collection of executive instructions that may bring technology beyond the level of its usefulness. What happens if every item found becomes a notation to which in order to read it we simply need to find the key? These and other questions about the fundamental issues of artistic production and the hidden meaning of reality will be answered by Igor Krenz himself supported by curatorship of Grupa Budapeszt.

George Brecht, Symphony No. 5

29/09/2017, Sacrum Profanum
Teatr Ludowy
Kraków 
19.00

Apartment House & Michal Libera play George Brecht Symphony No. 5

Version for violin, cello, 2 flutes, piano, keyboard, percussion and female voice

Full programme of the evening

Project developed thanks to Embedded Programme

Cinema Surroundings in Sokolowsko

CINEMA SURROUNDINGS

Tableau vivant, film for the ear, cinematic channelling

One evening programme for Sanatorium Dźwięku 

Inconsolable Ghost, Barbara Kinga Majewska, Daniel Muzyczuk and HenrykZastróżny & Łukasz Jastrubczak

Cinema as building and cinema as art. Perhaps also cinema as idea or at least cinema as abstract form of narration expanding beyond moving image with sound. Cinema as space and cinema as part of experimental music festival. Cinema as point in Sokołowsko's centre with characteristic arcade and typo stating „Zdrowie” [en. „Health”]. Surroundings as preposition pointing towards all those traces and oscillating around possible emancipation of some of the artistic practices rooted in the history of the tenth muse. Surroundings also as word referring to local topography, the history of town, referring to „before” and „after” of the period called „History of Cinema”. Finally surroundings as suggestion of seeing beyond the linear directedness of movie projection on the screen.

In other words, „Cinema Surroundings” is a program of three loosely associated events dedicated to all the above mentioned possible semantics of „Cinema” and „Surroundings”. The common ground for the three performances consists of the fact that all of them will take place within the framework of a music festival and in the very same building of the cinema in Sokołowsko. Together they can be a form of hommage to a place as well as hommage to a ramified positioning of sound in cinema. Together they may also stand for a scattered and unsystematic narration of cinema's peripheries – territories of possibly autonomous areas of arts. Chronologically speaking, the first of the territories was established in the end of 19^th Century with the rise of tableaux vivants, a form which in Sokołowsko will find its 21^st Century incarnation prepared by Barbara Kinga Majewska. Sound cinema or film for the ear or music to non-existant movies are only few among a number of terms to grasp the idea of music taking over the entire audiovisual film experience. Maybe not as old as tableaus vivants, it has a documented history of at least eight decades and some of the features of this history will for sure resound in the performance of artist Łukasz Jastrubczak and foley Henryk Zastróżny. Performance of Inconsolable Ghost can be introduced as an occult version of expanded cinema, a fully audiovisual experience, in which sound is not just meant to accompany the image while the image is not only constrained to the framework of the cinema screen. Members of the ensemble will expolore the building's architecture in an process of channelling.

Michał Libera / Barbara Kinga Majewska – Emphysema

Michał Libera – composition, libretto, recordings

Barbara Kiga Majewska – composition, arrangement of tableau vivant, voice

Gerard Lebik – sound design

Tableau vivant can be literally translated as „living image”. In times of early cinema it also meant a specific art form which was all about staging genre scenes by actors whose task (certainly impossible to fulfill) was to remain still throughout the performance. Some historians see tableau vivant to be a prefiguration of cinema not only because early films were actually shots of similar genre scenes but also because in both cases it was all about living characters constructing scenes of illusory character. „Emphysema” refers to these traces only indirectly. It will be a sonic take on tableau vivant based on the last finished novel by Franz Kafka called „Josephine, the Singer, or the Mouse Folk”. The writer conceived it while being in sanatorium in a state of terminal throat tuberculosis and emphysema, when pain was so overwhelming that he stopped speaking and which finally lead to his death of starvation. The novel will serve as dramaturgical axis of tableau vivant built on two photographs from sanatoriums specialized in healing tuberculosis. First one depicts patients taking „Luftkur” – air treatment – everyday ritual lasting for hours and being nothing less and nothing more than simply breathing fresh, mountain air, supposedly a cure for the disease. The other photograph shows a woman under heliotherapy – a treatment of directing sunbeams into a wounded throat by means of an assembly of mirrors.

Łukasz Jastrubczak / Henryk Zastróżny – Music to a Non-Existant Movie

Łukasz Jastrubczak – Hammond organ

Henryk Zastróżny – foley

Film made of sound only. Performance of Łukasz Jastrubczak and Henryk Zastróżny is one more excursion into early cinema. For number of reasons. Despite early cinema is considered to be silent (controversial thesis), it is a film strip which enabled artists from Dziga Vertov to Daphne Oram to work on sound's early forms of reproduction as well as first attempts at its synthesis. Sometime in between these experiments, a cult-status film of Walter Ruttmann called „Wochenende” (1930) was produced – the first known film without image. It can be argued that it was already then, roughly twenty years before the offical term „music concrete” was established, when foleys were using some sort of acousmatic listening in which acoustic source had nothing to do with an audible effect. Contrary to this well established and still raving music genre, Henryk Zastróżny and Łukasz Jastrubczak will try to use sound and sound only to build cinematic narration, checking semantics and visual features of sonic reality. Henryk Zastróżny will deliver a soundtrack using his foley experience while Łukasz Jastrubczak will improvise to the soundtrack. A project had been conceived for CCA „Zamek Ujazdowski” (curator: Agnieszka Sosnowska), yet by an intervention of force majeure has never been realized.

Inconsolable Ghost – Sokołowsko Channelling

Hilary Jeffery – tromboe, voice, electronics

Zsolt Sőrés Ahad – viola, voice, electronics

Gideon Kiers – computer, electronics

In his 1970 book called „Expanded Cinema” Gene Youngblood defined one of the features of the genre by referring to artistic practices leaving behind the „objecthood” of art and drifting towards environments in which certain, not always controlled and intended events and actions occur. In this sense, expansion of cinema means that the focus of attention cannot be limited to cinema screen and can include various ways of projecting sound, choreography, scenography, audience behaviors and others. In case of Inconsolable Ghost it also means turning a cinema into a space of spiritual seance of audiovisual channelling. The history of tension between cinema and ghosts is again quite old and definitely older than the history of expanded cinema. Not unlike tableau vivant, the earliest history of cinema is full of paranormal activities, the most obvious of which were characters on screen gaining its second life, either after death life or life parallel to their everyday existence. Cinema from its beginnings had something of an occult machine to it and until today there is a strong trend in experimental cinema to relate to that – from the famous „Flicker” by Tony Conrad (1965) to „Capitalism: Slavery” by Ken Jacobs (2006) which are just a couple of exemples of films reaching out to unknown realities. 

George Brecht Symphony No. 5

13/08/2017, Cafe Oto

Apartment House & Michal Libera play George Brecht Symphony No. 5

Anton Lukoszevieze - cello
Kerry Yong - electronics
Aisha Orazbayeva - violin
Gavin Morrison - flute
Michal Libera - interpretation

Full programme of the evening

Project developed thanks to Embedded Programme

Nothing more to say or write before the concert. 

Two from Giuseppe

News from Giuseppe

1. Grupa Budapeszt in Seoul. A piece called "Moro" will find its way there for the exhibition called "Silence" curated by Giuseppe Ruffo. Nothing more can be said about this piece except maybe that the word "moro" comes from polish abbreviation of „materiał odzieżowy roboczo-ochronny” (en. clothing textile for work and protection). It stands for textile covered with camouflage colored pattern and is used by infantry, navy, militiamen, firebrigades, skauts and many others.

2. The other contribution goes credited as "I Timpani You" and is a personal sonic postcard prepared for "Tweet Your Postcard" project by the very same Giuseppe Ruffo. A bit like the dead man Gherasim Luca sitting in the window of my kitchen with his legs hanging down and writing a poem for the dead man Luciano Cilio standing straight some twenty meters below him and imagining his never written opera.  

Follow Giuseppe Ruffo for more

AUTUMN

Save the date now
more details to follow

13/08: Cafe Oto, London
George Brecht, "Symphony No. 5" 
w./ Apartment House

19/08: Sanatorium of Sound, Sokołowsko
Cinema Surroundings 
w./ Inconsolable Ghost, Henryk Zastróżny, Łukasz Jastrubczak and Barbara Kinga Majewska 

02/09: Cinema Le Casino, Vence
Witold Gombrowicz, "Cosmos" 
w./ Tomasz Nosinski, Le Quan Ninh, Ingar Zach, Jacqueline Sobiszewski

28/09: Muzeum Sztuki, Łódź
Two and Half D. The Miracle of Representation (working title) 
w./ Grupa Budapeszt (Igor Krenz, Michał Libera, Daniel Muzyczuk)

29/09: Sacrum Profanum, Kraków
George Brecht, "Symphony No. 5"
w./ Apartment House

11/10: Trafo, Szczecin
Two and Half D. The Equation of Shade (working title)
w./ Grupa Budapeszt (Igor Krenz, Michał Libera, Daniel Muzyczuk)

21/10: Donaueschinger Musiktage, Donaueschingen
Minor Music 
w./ Eugene Chadbourne, Barbara Kinga Majewska and Alex Waterman

18-25/11: Huddersfield Contemporary Music Festival (details TBC) 
PRES 70th Anniversary related series of concerts, exhibition and lectures
w./ Thomas Lehn, Małe Instrumenty, Michał Mendyk, Daniel Muzyczuk, Jacek Sienkiewicz and Valerio Tricoli

George Brecht, Symphony No. 5

George Brecht, "Symphony No. 5"
performed by
Apartment House & Michał Libera

August 2017, Cafe Oto, London

Cello by Anton Lukoszevieze
Violin by Aisha Orazbayeva
Flute by Gavin Morrison
Electronics by Kerry Yong
Interpretation by Michal Libera with Apartment House

Developed withing Embedded Project 

More details soon

Spring Break

Soundcloud profile

featuring fragments of albums published by Bôłt Records and Grosser Laerm as well as excerpts of unreleased rough takes of performances and sound installations.

The Line

THE LINE 
(All This Can Be Seen Anywhere)
by
Agnieszka Lasota

Premiere: 18/03/2017, Whitechapel Gallery, London

Directed by Agnieszka Lasota
Cinematography by Barbara Czartoryska and Agnieszka Lasota
Edited by May Rigler
Soundtrack by Michał Libera
Creative support by Marika Kuźmicz
Archive footage from Barbara Kozłowska's Archive, courtesy of Zbigniew Markiewicz and Fundacja Arton

Voices by Zosia Lisowska and Patryk Pudłowski recorded by Łukasz Rodziewicz

All other sounds field recorded by Michał Libera in the surroundings of As-Sawira, Foum Zguid, Scheveningen and Wesoła, except NASA space sounds found online. 

RAPHAEL ROGIŃSKI plays HENRY PURCELL

BR POP18

Populista 
presents 
Raphael Rogiński
plays 
Henry Purcell
(featuring Olga Mysłowska and Sebastian Witkowski)

1. Pavan Intro
2. Saraband #1
3. Charon the Peaceful Shade Invites
4. Ground #1
5. What a Sad Fate
6. Menuet
7. Allemand
8. Music for a While
9. Pavan
10. Saraband #2
11. So When the Glitt'ring Queen of Night
12. Ground #2
13. Air
14. Dido's Lament
15. Pavan Outro

Guitars by Raphael Rogiński 
Voice, synths by Olga Mysłowska
Synths by Sebastian Witkowski

All compositions by Henry Purcell except 1, 9, 15 by Alfonso Ferrabosco
All arrangements by Raphael Rogiński 

Recorded, mixed and mastered by Sebastian Witkowski
Produced by Raphael Rogiński and Michał Mendyk
Cover art work by Aleksandra Waliszewska
Layout by Piotr Bukowski
Published by Bôłt Records
Distributed by Monotype Records